Bravo: Even the Whimsy At A Few Museums Is About Art
AJBlog: Real Clear Arts Published 2015-04-30
AJBlog: Sandow Published 2015-04-30
So you want to see a show?
AJBlog: About Last Night Published 2015-04-30
Archives for April 2015
“Though the war is still raging, the government has already established a Ministry of Reconstruction in Damascus that has allegedly begun selling property. It has also burned land registry offices and deleted title entries, presumably to keep people from reclaiming their houses and businesses after the war ends (more than half of Syria’s citizens have fled the country).”
“The relationship between Tate Britain and Modern, then, is really about what importance we give to old art and the concept of a national culture; and as it turns out, most people are more interested these days in the concept of internationalism and the culture of the contemporary, than what appears to be the stuffy, out-of-date world of narrow-minded nationalism; which is why almost 5.8 million visitors flocked to Tate Modern in 2014, and barely a quarter of that number made it to Tate Britain.”
“Valuing the importance of the story is still considered unambitious, as though anyone could do it. I suspect the opposite: it is because writing a good story is so hard that it is such a tempting target, to be dismissed as a lower, populist skill. In the absence of a capacity, posit a principle.”
“The point is that while music is as lucrative as ever for those at the top, what’s diminished, as in so many jobs, is the comfortable middle, where once upon a time musicians who never quite hit the big time could nonetheless make their living: not super-rich, but doing fine and enjoying a certain stability. What we are left with now is a kind of all or nothing, in which you either scale the dizzy heights or languish forlornly at the bottom.”
“Before the internet, we all thought of art as a one-way phenomenon: there were creators and there were consumers. True or not, that’s what we thought. Now, though, the means of cultural production have been democratized, and art is becoming, in all genres, a many-to-many phenomenon. Anyone can make it—and everyone does—and we all still engage with it, too.”
“I’ll venture to say dance audiences are better behaved than other crowds because they’re more immersed in the show. They’re not as distractible. That feeling you have, when a dancer leaps lightly across the stage and you’re carried along with her — that’s your brain, your whole sensorimotor system, responding sympathetically to another human body in motion.”
Glenn Greenwald has posted “the key documents giving rise to the controversy that has erupted inside PEN America over the award the group is bestowing on Charlie Hebdo” – most notably, correspondence between writer Deborah Eisenberg (who withdrew from the awards gala) and PEN Executive Director Suzanne Nossel.
“At top U.S. film schools, women and men are almost equally represented. … Yet between the day these women graduate and the day, a few years later, that their male college peers begin showing up in film credits, most women filmmakers vanish into obscurity.” Here’s a look at the ways it happens.
“Over thirty-five years, from around 1794, when Goya, still in Madrid, was recovering from the devastating illness that left him permanently deaf and forced him to abandon grand court painting, to his death in Bordeaux in 1828, aged 82, he put together a sequence of eight ‘albums’ of brush and ink drawings. Often he added a laconic, ironic caption in black chalk.”
“[Behavioral science] suggests that play is also a crucial part of the full life of the human animal, and yet philosophers have said very little about it. Usually, if we see an appreciation of play, it’s an attempt to show its secret utility value – ‘See, it’s pragmatic after all!’ … All this is true of course, but one also wonders about the uniquely human meaning of play and leisure. Can we consider play and leisure as something with inherent value, independent of their accidental usefulness?”
Approaching Justice & Democracy (in Beauty Class)
AJBlog: Jumper Published 2015-04-29
Can’t Buy Me Love
AJBlog: Engaging Matters Published 2015-04-29
AJBlog: Infinite Curves Published 2015-04-29
AJBlog: Performance Monkey Published 2015-04-29
The Frank Strazzeri Film
AJBlog: RiffTides Published 2015-04-28
Handel for hipsters: Revolution or red herring?
AJBlog: Condemned to Music Published 2015-04-27
“Perhaps best known as one of the founding members of the widely acclaimed Empire Brass Quintet, Smedvig enjoyed a busy career as a soloist with major orchestras, including those in Boston, Chicago and Cincinnati. In 1973, the 19-year-old Smedvig was hired as assistant principal trumpet of the Boston Symphony by music director Seiji Ozawa. Smedvig, then the youngest member of the orchestra, moved up to principal trumpet in 1979.”
“In the journal Musicae Scientiae, Michael Silverman and Jon Hallberg of the University of Minnesota describe a small program they created and implemented in which music students—specifically, classical pianists and guitarists—spent time performing in a primary care clinic waiting area. Subsequent interviews with staff members of the clinic found their reaction was overwhelmingly positive.”